:00:25. > :00:30.We'd like to hear from you so please do tweet us.
:00:31. > :00:41.On tonight's show, a little film you may have heard of.
:00:42. > :00:49.Luke, Han and Leia return in The Force Awakens.
:00:50. > :00:54.And what's coming out over Christmas and the New Year,
:00:55. > :01:01.Jennifer Lawrence in mop biopic Joy.
:01:02. > :01:07.Revenge epic The Revenant starring Leonardo Di Caprio.
:01:08. > :01:13.And Eddie Redmayne in The Danish Girl.
:01:14. > :01:18.I believe that I am a woman. I believe that, too.
:01:19. > :01:21.Plus, we'll be looking at festival hit, Room.
:01:22. > :01:24.Joining me on our vaguely festive sofa is the wondrous Danny Leigh.
:01:25. > :01:29.And seasonal super-critic Ashley Clarke.
:01:30. > :01:35.First up is Star Wars: The Force Awakens, director JJ
:01:36. > :01:37.Abrams' much-anticipated continuation of George Lucas' sci-fi
:01:38. > :02:02.Those stories about what happened... It is true. All of it.
:02:03. > :02:34.The Darkside... The Jedi... They are real. The force is calling to...
:02:35. > :02:46.Chewie, we're home! People will be worried but we will not spoil
:02:47. > :02:53.anything, I promise. We will have to be very careful. Imagine if we said
:02:54. > :02:59.it was terrible! Luckily, not, it is blended and spectacular. This
:03:00. > :03:06.frothing last whirlpool of fun and no flammable be disappointed but
:03:07. > :03:09.more important, there will be grubby tendrils that will be brought along
:03:10. > :03:13.for the ride and that is more important than that because we were
:03:14. > :03:18.both veterans of the playgrounds in the 1980s and what made Star Wars
:03:19. > :03:24.everything was not affected our parents were into it, it was because
:03:25. > :03:29.we loved it. On the subject of offspring, we took our own offspring
:03:30. > :03:33.and they loved it, we loved it. I don't know if you have read any
:03:34. > :03:38.reviews. A friend of the show said he cried three times, I felt
:03:39. > :03:43.emotional and I looked at my boys and they were screaming, can we go
:03:44. > :03:47.again? I don't have kids but I'm sure they would have cried! It was
:03:48. > :03:52.great from the action point of view, it reminded me of mad Max this year,
:03:53. > :03:59.a film that understands the primacy of action, out of the blocks, not a
:04:00. > :04:03.lot of exposition, the way that the director uses his frame, there is so
:04:04. > :04:07.much going on and you always know where you stand, great action
:04:08. > :04:12.directing and action storytelling. The first 45 minutes, particularly,
:04:13. > :04:18.is spectacular. There are a Lord Rose dollops of nostalgia and this
:04:19. > :04:24.moment when the Millennium Falcon comes back to life, and I keep
:04:25. > :04:28.coming back to that idea, you can love the movie without reliving your
:04:29. > :04:34.childhood. You mention nostalgia but I don't know how much of my welling
:04:35. > :04:41.up, and we had a bunch of people who should be grumpy and just wanting to
:04:42. > :04:45.watch it, journalists, and people were screaming and crying and the
:04:46. > :04:50.moment you heard that music, there is something so thrilling about that
:04:51. > :04:56.stature. He is very faithful to the tone of the previous films. The
:04:57. > :05:00.casting director deserves great credit for bringing in such new
:05:01. > :05:06.talent and John Boyega is fantastic, he nails that hero role, Daisy
:05:07. > :05:12.Ridley is great and Adam Driver, in particular, deserves credit because
:05:13. > :05:20.he does that capital acting we have seen, he brings real pathos. Daisy
:05:21. > :05:23.as well, she carries a lot of it. We have seen John Boyega being
:05:24. > :05:29.fantastic before, we knew what he was capable of but Basie Ridley has
:05:30. > :05:33.done casualty, and it is interesting to see her coming out of the locks
:05:34. > :05:38.and becoming so on. Did, having a good time. That scene, running
:05:39. > :05:45.towards the camera with this tomboy grimace. Some of the more
:05:46. > :05:48.experienced actors, Domhnall Gleeson, has a particular knack with
:05:49. > :05:53.this dialogue, Harrison Ford was talking about that line, George
:05:54. > :06:01.Lucas can type it but it is harder to say it. Domhnall Gleeson has to
:06:02. > :06:06.say, we are using those ventral cannons and the ventral cannons were
:06:07. > :06:12.used. That is not a spoiler! JJ Abrams has swept the boards, he has
:06:13. > :06:17.raised those prickles from the past. No one is talking about those
:06:18. > :06:23.prickles, this is what had to happen, George Lucas has been put on
:06:24. > :06:30.the patio chairs and left over their with Jar Jar. Not just for the super
:06:31. > :06:34.fans, you can come to this is not having seen any before and still be
:06:35. > :06:40.entertained. It has kept the meaning of Star Wars, this billion-dollar
:06:41. > :06:44.spectacle going on and also this slight creepiness, which is what the
:06:45. > :06:52.original films had, for all of that money and expectation, it is like an
:06:53. > :06:54.old dude in a tank top. The art sign is fantastic. I thought I must get a
:06:55. > :06:58.lunchbox! -- design. Jennifer Lawrence teams up again
:06:59. > :07:01.with director David O Russell in this real life story of a woman
:07:02. > :07:15.who risked it all to invent You are going to grow up and be a
:07:16. > :07:20.strong, smart young woman. And you are going to do wonderful things.
:07:21. > :07:28.And that is what is going to happen to you. To me, it is about the
:07:29. > :07:35.promotion, across those three major areas of time. The pure innocent Joy
:07:36. > :07:40.of a child playing in the snow. Making things in your Room, and then
:07:41. > :07:45.when you get married to somebody, very special and euphoric and it
:07:46. > :07:53.feels like you have won the lottery. A nice man, this lawyer. Are you
:07:54. > :08:00.talking about this? And the Joy of after being divorced. And you need
:08:01. > :08:04.to pick yourself up and you find yourself as a single mother and you
:08:05. > :08:13.have to become friends with her ex-husband. This will be a musical,
:08:14. > :08:18.we should sing this together. ... Until you think you have the time to
:08:19. > :08:23.spend an evening with me... He is married to my daughter and that is
:08:24. > :08:26.already a mistake as far as I am concerned and it gets worse and they
:08:27. > :08:31.get divorced and that is good but then he moves into her basement and
:08:32. > :08:36.that is not good and then I get thrown out by my ex-girlfriend. What
:08:37. > :08:42.are you doing here? Returning him to you, I don't want any more. What? He
:08:43. > :08:47.is damaged, he has nowhere else to go. He is very keen understanding of
:08:48. > :08:56.all the layers of the family dynamic. It might seem like a
:08:57. > :09:02.dysfunctional from the outside but what family really is functional?
:09:03. > :09:09.That is a very strange question. It is multi layered. The story about
:09:10. > :09:16.getting to know yourself. There is the story about family. You are like
:09:17. > :09:19.a gas we don't see you or smell you but you are silently killing all of
:09:20. > :09:29.us. And imagination, faith in yourself. It is very serious. Good
:09:30. > :09:35.luck, here we go. And what it means when you find success. The world
:09:36. > :09:40.does not mean anything, it does not owe you one thing. There are so many
:09:41. > :09:41.different elements that I hope people can walk away with all of
:09:42. > :10:01.them. My name is Joy, by the way. Ashley?
:10:02. > :10:04.Just like that. Straight into it! Sometimes you have to hold up your
:10:05. > :10:08.hands and say you have been utterly confounded by a film. There are
:10:09. > :10:14.these hairpin tonal shifts all the way through, I did not know if this
:10:15. > :10:18.was a satire or family comedy and I was trying to work that I that the
:10:19. > :10:23.stakes stakes were so low. I did not feel invested in anything. I cared
:10:24. > :10:27.about her about a foot family, interesting to see David O Russell
:10:28. > :10:33.saying this is about Joy. What? That the surname that that family was
:10:34. > :10:38.vile, I cannot write this off, I don't want to tell people not to see
:10:39. > :10:46.it but I want them to explain it to me. It is about mops. It is about
:10:47. > :10:52.mops! It is about the invention and the salesmanship of mops and that is
:10:53. > :10:59.a weird film, you called it. I would be there enthusiastically but my
:11:00. > :11:03.hands are staying here because it is a strange film in that strange
:11:04. > :11:09.seductive way, strange like half a bottle of cough syrup. Nothing makes
:11:10. > :11:14.sense. This is the in-flight movie, it does not make any sense at all. I
:11:15. > :11:18.am with Ashley, and quite admire the film I can think, I have no idea
:11:19. > :11:23.what this is about, inside the brain of David O Russell, I have no idea
:11:24. > :11:31.what I thought was being hatched. He has done heightened, surreal things
:11:32. > :11:35.before. Like Huckabees, he built that world and it felt consistent
:11:36. > :11:39.but this is like a very big ensemble cast and they feel that they are all
:11:40. > :11:47.in different films, Robert De Niro does that act from Meet the Parents
:11:48. > :11:52.and Jennifer Lawrence... She is not doing David O Russell any favours
:11:53. > :11:57.after this! What film is she in? Very strange. I like the fact that
:11:58. > :12:04.somewhere in Los Angeles at that moment and Executive on a treadmill
:12:05. > :12:10.is the man that created this, Green let this film that David O Russell
:12:11. > :12:19.sold them as a Christmas movie and then Joy arrived! I think maybe I
:12:20. > :12:23.preferred this to that one, to which Mr smoothie man thought that he had
:12:24. > :12:28.requested. I want to see this another 20 times. I cannot wait to
:12:29. > :12:35.see what people have to say about this in 15 years, whether it was
:12:36. > :12:42.some sort of social commentary? Like recaps Popeye? David O Russell has
:12:43. > :12:50.no idea who I am but they have nurtured a dislike of him first very
:12:51. > :12:54.long. He is so friendly. These howlers, cinema history is littered
:12:55. > :12:59.with them and in 30 years, people will think that Joy is the best film
:13:00. > :13:01.ever made! Joy is out on New Year's Day, let us know what you think!
:13:02. > :13:03.Next is director Alejandro Innaritu's Oscar-tipped
:13:04. > :13:06.Leonardo Di Caprio is left for dead after being attacked
:13:07. > :13:25.I am not afraid to die any more. I have done it already. This is a
:13:26. > :13:31.story based on the real anecdote of a man 200 years ago in the middle of
:13:32. > :13:35.the United States in this manner is part of the company of trappers and
:13:36. > :13:55.he is attacked by a bear. He has been taking care of by his
:13:56. > :14:02.colleagues. And they decide to abandon him and take his rival. And
:14:03. > :14:09.then he has to drag himself and heal himself in the midwinter form with
:14:10. > :14:13.them 200 miles. It is an epic augmentation of the journey of Hugh
:14:14. > :14:21.Glass through harsh conditions and difficult terrain and natural
:14:22. > :14:26.obstacles to seek vengeance. We were shooting in very remote places with
:14:27. > :14:31.the most beautiful light possible, with very complicated shots. So
:14:32. > :14:36.those long takes and wide lenses and the right light and his continued
:14:37. > :14:41.shots always allowed people to really be submerged in that 360
:14:42. > :14:47.degrees in motion, it was very hard to make web when it happened it was
:14:48. > :15:02.a beautiful movie, it was like a wing into a painting, you become
:15:03. > :15:07.part of that. -- but when. I mean, whoo! I did not see this film so I
:15:08. > :15:12.am terribly sorry, I have read brilliant things, if it is like that
:15:13. > :15:19.last shot! I will certainly see that!
:15:20. > :15:27.The idea is they have taken a lot of technology and money and used it to
:15:28. > :15:31.basically drag people back into this brutal, bloody place and time. You
:15:32. > :15:36.are put right there amid the elements, and if you ever wanted a
:15:37. > :15:40.film that would leave you the feeling of being savaged by an angry
:15:41. > :15:45.grizzly, this film does that. It is interesting because the film makes
:15:46. > :15:49.all these hints towards things like Apocalypse now, but I don't know if
:15:50. > :15:58.it is on that kind of level. You feel this film physically, you can
:15:59. > :16:10.smell it, but I don't... That sounds perfect. I felt it physically, but
:16:11. > :16:19.it was also boring, I felt like it was a 90 minute movie trapped inside
:16:20. > :16:21.this three-hour beast. It was a very straightforward, simplistic film
:16:22. > :16:28.that takes itself incredibly seriously, and I have got to say, it
:16:29. > :16:33.works more than anything is a brutal satire on the lengths one actor will
:16:34. > :16:40.go to try to finally get that Oscar. He deserves it, doesn't he? He
:16:41. > :16:47.suffers, only survives. He eats some liver, he swims a frozen lake, he
:16:48. > :16:55.takes a kip inside a dead horse. I do get the bare grills stuff, they
:16:56. > :17:03.will be a T-shirt handed out at the end, but I think there is a genuine
:17:04. > :17:08.darkness to it. It reminds me of Cormack McCarthy in the novel Black
:17:09. > :17:13.Meridian. There are arrows in the sky and blood in the water, and this
:17:14. > :17:20.is a place in the world where you are either killing and eating or you
:17:21. > :17:28.are being killed and eaten. Birdman had it too, this arrogant. But
:17:29. > :17:36.Birdman was tight. It is difficult to make this film timidly. There is
:17:37. > :17:38.a certain virtuosity to it. Some of the landscapes and action pieces are
:17:39. > :17:46.as good as any I have seen this year. Will Poulter has a tricky role
:17:47. > :17:51.but he brings the heart to it amongst all the grunting and
:17:52. > :17:54.shouting. It would be so easy for the actors to get lost, and you have
:17:55. > :18:01.to have actors capable of going big. We know that Tom Hardy can do that.
:18:02. > :18:06.Tom Hardy and will Poulter are this incredible double act. Tom Hardy is
:18:07. > :18:14.the dark voice we all here at three o'clock in the morning. Will Poulter
:18:15. > :18:23.is the angel. He has already bought the mop! We also do have to talk
:18:24. > :18:27.about Leo. It is interesting casting, because he is playing a
:18:28. > :18:33.father, and that is weird, because I see him and I still see two
:18:34. > :18:42.eight-year-old boys standing on each other's shoulders. It is a step up
:18:43. > :18:45.for him, so I am a big fan the new. The revenant is out on the 15th of
:18:46. > :18:50.January. Next, Eddie Redmayne
:18:51. > :18:51.and Alicia Vikander star in The Danish Girl, the story
:18:52. > :19:01.of transgender pioneer, First time we met, she propositioned
:19:02. > :19:10.me. She seemed so sure. I was sure. I still am. It is an extraordinary
:19:11. > :19:15.love story about a young couple in Denmark in the 1920s establishing
:19:16. > :19:18.themselves as artist, and one day the wife has to ask her husband to
:19:19. > :19:25.stand in. Could you help me with something? And he is putting
:19:26. > :19:31.stockings on and holding address, and we see this character starting a
:19:32. > :19:37.process of reawakening, a sense of being a woman that was suppressed
:19:38. > :19:43.throughout his life. Hello! We are going to call you lily. And they go
:19:44. > :19:55.on this extraordinary journey of them starting to explore lily, and
:19:56. > :20:02.it happens through the art, and she starts to paint lily. But lily's
:20:03. > :20:04.sense that she wants to live as a woman puts her up against society at
:20:05. > :20:16.the time. You are different from most girls. I
:20:17. > :20:20.feel I would need to ask your permission before I kissed you.
:20:21. > :20:27.Exactly what happened last night? There was a moment when I wasn't me.
:20:28. > :20:32.A moment when I was just lily. It is a love story that is extremely
:20:33. > :20:42.related double, and I found it quite iconic. We were playing a game.
:20:43. > :20:47.Issues that lily faces are very much issues that people in the
:20:48. > :20:52.transgender community still go through today.
:20:53. > :21:03.Are you all right? When I first read the script, I knew nothing about
:21:04. > :21:09.Lili's story, and what I read was this story that questioned the
:21:10. > :21:16.boundaries of love. But also within this was a story of authenticity,
:21:17. > :21:22.and what it takes just be yourself. The fact is, I believe that I am a
:21:23. > :21:27.woman. And I believe it, too. I love you because you are the only person
:21:28. > :21:36.who made sense of me. And made me possible. Let me just start by
:21:37. > :21:45.saying that I loved this film. Why would you both do that? I thought it
:21:46. > :21:50.was nice and exceedingly tasteful... Did we watch the same film? It was
:21:51. > :21:54.brilliant! It takes a tricky, complex subject matter which a lot
:21:55. > :22:01.of people are talking about now and sands it and to this job postcard
:22:02. > :22:09.Oscar bait, and I think they are going to have to make a new Oscar
:22:10. > :22:14.Freddy. The most quivering. I thought the depiction of Copenhagen
:22:15. > :22:22.was beautiful. I love their relationship. She is wonderful, he
:22:23. > :22:27.is fantastic. It is to tasteful, we can't bear this much taste. The real
:22:28. > :22:30.people that this was a stone were Bohemians, they were impolite
:22:31. > :22:36.people, and they have been sprayed with air freshener for the film.
:22:37. > :22:42.Sanctified. They are a gift set of bath salts now. It isn't all right.
:22:43. > :22:47.They are not! Would you also have a problem with him that he depicted
:22:48. > :22:58.the French Revolution in Les Miserables? He has turned things
:22:59. > :23:04.down a little, so instead of he stole a loaf of bread, we have a
:23:05. > :23:11.tinkly piano in the back of everything. Tingle, tinkle.
:23:12. > :23:17.Tinkering, drinking, sweeping. So we were not moved? I was sobbing. I
:23:18. > :23:27.thought it was good. I wasn't moved. What about their relationship.
:23:28. > :23:33.Alysia they candour brings so much to it, she seems frustrated she
:23:34. > :23:36.isn't in a better role. She brings a lot of voice and character to
:23:37. > :23:44.something that isn't written that well. I am totally shocked, she is
:23:45. > :23:48.completely written, she is a pure person who was an artist and is in
:23:49. > :23:55.love with this person. Everything is too pretty. Eddie Redmayne is
:23:56. > :24:02.pretty, the background is pretty, and he doesn't know where to stop.
:24:03. > :24:08.The snow is just so. I think Alicia Vikander is very good, and I think
:24:09. > :24:15.Eddie Redmayne is very good. A giant man stuffed into a tiny suit. All
:24:16. > :24:24.you can see is an M T thought bubble above his head. It worked in
:24:25. > :24:29.Amadeus, you have all of these actors from different places talking
:24:30. > :24:33.in English. I don't think, and I don't mean to be offensive, that you
:24:34. > :24:39.are right. And I want to say that in a nice way, but I think everybody
:24:40. > :24:42.else who will go and see the Danish girl will see masterful acting and
:24:43. > :24:45.beautiful directing dealing with a sensitive but important subject. So,
:24:46. > :24:51.sorry. It is out on New Year's Day. Next is Irish director
:24:52. > :24:52.Lenny Abrahamson's Room. Already a hit on the festival
:24:53. > :24:55.circuit, this tense thriller stars Brie Larson and seven-year-old
:24:56. > :25:14.Jacob Tremblay as a mother and son Good morning. TV persons are flat
:25:15. > :25:19.and made of colours, but me and you are real. Wider the aliens never
:25:20. > :25:25.screamed back? I guess they can't hear us.
:25:26. > :25:29.The movie starts in what looks like a crummy little tiny apartment, but
:25:30. > :25:32.as the story progresses and you see their simple sparse lifestyle you
:25:33. > :25:38.realise that they are actually trapped in this space, and this
:25:39. > :25:43.woman was captured at 17 and has been never seven years. I have been
:25:44. > :25:47.locked in here for seven years. There is a world on the other side
:25:48. > :25:56.of that door. What other side? You will love it. What? The world. But
:25:57. > :26:02.that is just a setup for the two of them to work together to escape.
:26:03. > :26:09.You have to play dead, and all the neck will come and take you outside,
:26:10. > :26:18.and I will be in your head talking to you. I'm scared. I know.
:26:19. > :26:21.Most of the movie takes place outside with them seeing the world
:26:22. > :26:25.for the first time and learning about it and it is rinsing it and
:26:26. > :26:33.growing and feeling a sense of liberation. There were two main
:26:34. > :26:37.challenges. One was how do you preserve the tension and dramatic
:26:38. > :26:40.intensity in the second half of the story after they have escaped, so
:26:41. > :26:45.after the most immediate danger is over. How do you replace that with
:26:46. > :26:51.something as compelling in the second half? And the other challenge
:26:52. > :26:57.was, how do you capture the story being told from the boy's point of
:26:58. > :27:05.view? And at the same time, you are looking at the reality of it from an
:27:06. > :27:11.adult point of view. When I was four, I only knew small things. But
:27:12. > :27:23.now I'm five, I know everything. They will never find us.
:27:24. > :27:33.I can't talk about this film without crying, which would be not festive
:27:34. > :27:38.and weird, so you begin. It would be an appropriate response. I wish
:27:39. > :27:47.there was a better word than oppressive to describe Room, but it
:27:48. > :27:51.does a similar thing to what the Revenant does. It is and in the
:27:52. > :27:56.great outdoors, it is an incredibly small space, it is a prison drama
:27:57. > :27:59.with flyboarding strip lighting. The as you physically and you start to
:28:00. > :28:05.feel quite uncomfortable. Then you open up, and it has this tricksy
:28:06. > :28:09.structure which is difficult to pull off, and I don't want to talk about
:28:10. > :28:16.what happens to much, but it is almost similar to Psycho in a way. I
:28:17. > :28:19.think the film is very brave in the way that it throws you in without
:28:20. > :28:27.expectation and allows you to figure out their world. They are already
:28:28. > :28:30.advanced in this life, and it isn't gloomy. They are in a terrible
:28:31. > :28:34.situation, but there is a lot of love them but emotional power comes
:28:35. > :28:40.from the performances and the bond they have. The boy gives the best
:28:41. > :28:45.child performance since Gary Coleman in different strokes. He is just
:28:46. > :28:53.stunning. And Brie Larson equally is fantastic. And it captures the kid's
:28:54. > :28:57.eye view, it is about capturing it from a low angle, but also your
:28:58. > :29:00.attention wanders, so something very important might be going on in one
:29:01. > :29:04.corner of the room, and you are looking at carpet fibres or a
:29:05. > :29:09.cardboard box, but also as a kid you see things the adults miss. And
:29:10. > :29:14.Jacob Tremblay, what a discovery he is. He doesn't seem like a trained
:29:15. > :29:22.child actor. He does it without being cute. And you have to give
:29:23. > :29:27.credit to everyone involved, to the director and to Brie Larson. Jacob
:29:28. > :29:36.Tremblay was seven when they made this film, and my sense was that she
:29:37. > :29:39.had to mother him through the role a little bit, just hold his hand and
:29:40. > :29:45.collectively the whole set had to get involved to coax this
:29:46. > :29:50.performance out of him. This is absolutely my film of the year. I
:29:51. > :29:54.can't stop talking about this film. It was they with you, it is about
:29:55. > :30:00.motherhood and about how much you need and out much bigger things. It
:30:01. > :30:04.will resonate, and then you will want to read everything the author
:30:05. > :30:08.has ever said full of do you agree? I think there are a lot of
:30:09. > :30:12.metaphorical things going on. They don't do a big scary villain, he is
:30:13. > :30:17.just on the fringes, so it is about them and it is quite hands off in
:30:18. > :30:22.places. There are lots of chunks you don't see him. My one criticism
:30:23. > :30:26.would be that some of the choices were heavy-handed, and the music is
:30:27. > :30:32.overbearing, which was a surprise, because when you look at Lenny
:30:33. > :30:37.Abrahamson's other films, I think maybe he would've replicated the
:30:38. > :30:41.hands off technique, because the performances are what drives the
:30:42. > :30:45.emotion. We should all talk about -- also talk about Joan Allen, who is
:30:46. > :30:52.fantastic, and William H Macy, who is probably only in two scenes. He
:30:53. > :30:57.only dropped in for a couple of hours! Is made for it. And we are
:30:58. > :31:02.sitting here as to parents and a nonparent as yet, and it does pull
:31:03. > :31:04.on your nerves as a parent, but you don't have to have a kid.
:31:05. > :31:08.Danny, you just quickly wanted to mention one more film.
:31:09. > :31:14.Creed is coming out, it is part of the Rocky series, but the best way
:31:15. > :31:20.to think of it is as a sequel to Rocky Balboa. As a boxing movie this
:31:21. > :31:26.film is superb. It has everything. Rocky means a lot to me, but I think
:31:27. > :31:38.is a technical film, a film full of soul and heart, it deserves it. Star
:31:39. > :31:41.Wars and Room my films of the week. Room and Read our both out in
:31:42. > :31:44.January, as is Star Wars. Well, that's all for
:31:45. > :31:46.this week and for 2015. But playing us out is
:31:47. > :31:49.a seasonal favourite. Made in 1965, The Sound of Music
:31:50. > :32:05.stars Julie Andrews, Happy Christmas, go and see Read!
:32:06. > :32:09.# So long, farewell... # I hate to go and leave this pretty
:32:10. > :32:26.sight # So long, farewell, adieu to you
:32:27. > :32:34.and you interview # So long, farewell I'd like to stay
:32:35. > :32:44.and taste my first champagne... Yes? No!
:32:45. > :32:48.# So long, farewell, goodbye # I leave and heave a sigh and say
:32:49. > :32:56.good I # Goodbye
:32:57. > :33:00.# I'm glad to go # I cannot tell a lie
:33:01. > :33:25.# I flipped, I float, I fly # The sun has gone to bed
:33:26. > :33:35.# And so must I # So long,
:33:36. > :33:46.farewell auf Wiedersehen, goodbye # Goodbye
:33:47. > :33:53.# # Goodbye
:33:54. > :33:59.# Goodbye... It cannot be true, Holmes.
:34:00. > :34:06.It cannot.